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Trent Bosch Demonstrates for CMW on August 17, 2019

Photo of Trent Bosch

Vessel Of Illusion

In this demo Trent talked about all the techniques he goes through in the creation of the vessel and why.  He showed the audience how he turned the outer form, hollowing the inside, carved the vessel, turned the insert as well as using wood bending techniques to get the insert in the outer vessel. 

A second part of the demo included turning a bowl from green wood. 

A third part included a platter.

He shared a lot of his wisdom on shop safety, great tools, turning efficiency and how to use your body to manipulate the tool or wood at the lathe. 

Trent first uses his body to manipulate the tool and wood in order to rough it out. 

He encourages the turner from the onset to decide which end will be the top and bottom of the vessel based on the character of the wood. He takes his time passing over the wood for a more friendly approach. It makes the turning part less bumpy,  riding the bevel to achieve a more uniform finish to minimize sanding.

The tenon is created next. Too much dust is created when cutting via the end-grain. He uses a 90 degree angle to cut down the tenon which is reduced to the same size as the chuck. 

A square shaped tenon is cut with care to create a 90 degree transitionfollowed with a spindle gouge for fine tuning a dove tail, riding the bevel. 

He starts turning the outside shape but leaves a slightlylarger tenon at the end of the vessel to support the hollowing to follow. (See diagram below)

This diagram aids in the sequequence the wood should be hollowed out in order to avoid tear-out. 

Start by measuring the total length needed to drill to the end of the line, draw the line!

Follow the steps to hollow out the vessel, he points out to keep one hand under the tool or depth control. Do not lean down and simply trust yourself. Nothing was left to the imagination when Trent used the “Visualizer” to locate the hollowing tool on the inside of the vessel – an ingenious way to keep track of the position of the scraper and wall thickness. With the help of a camera and a monitor. Trent drew around the tool as well as a “thickness-allowance” right onto the monitor. This makes cutting through the wall of the vessel less likely

Trent was now able to finish the outside and cut away the rest of the large tenon without any tear-out. 

Trent installed his carving stand onto the lathe’s tool rest and is now able to draw and cut he lines of the flower pedals to be carved. He has many pneumatic toolsto make the job very efficient. 

A saw, angle grinder, rotary grinder and electric carving tool all aided in a quick transformation to a flower shaped vessel. 

As a finish Trent often uses lacquer, wipe-on poly depending on the use or goal of the project. 

For the last step: Constructing the insert-piece:

Trent prefers to use drier wood often found in furniture construction such as Maple, Cherry and Ash. 

Orientation needs to be face-grain, turned with a tenon and rounded out. 

He measures the largest spot of the vessel opening and adds ¾” to the size. This will be the size of the turned insert piece. 

Increase the size of the opening slightlyup until the shoulder. 

Part off after achieving a 1/16thof an inch consistent wall thickness or theinsertwill not bend. 

Make a jig with a post in the middle to hold the piece with double sided tape. 

Boil the piece in water until it sinks to the bottom. Heat and moisture make it pliable. 

Bend and insert it into the vessel.

Use a balloon inside the vessel, blow it up and let the wood dry.

Later the piece can be held in place with epoxy. The mixture of epoxy should be approximately 2 parts resin to 1 part hardener. This will allow the wood to move and not crack over time.

The following day a class was held going over all aspects of the vessel and creating our own.

Trent also demonstrated the platter construction for us. 

We also had time for the bowl turning and embellishing. Trent used his electric engraver and pneumatic sander and other tools on hand to carve impressions on to the rim.

His preferred finish for bowls and platters are walnut oil or mineral oil.

It was a great and memorable experience to meet the very approachable and patient teacher, not to mention extremely informative! Spending time with a handful of great club members was also very enjoyable.

The “Carolina Mountain Turner Learning Center“ was very organized.

We arrived to a clean workshop; there were toolboxes with all lathe attachments as well as a lathe for each student and materials for turning.

Please look at Trent’s web site for the tools used in his demo.

They are: 

-Hollowing tools curved and straight 

-Hollowing tools stabilizer & with laser bar attachments

-Visualizer (camera with monitor)

-12” Depth Finder Tool

-Carving stand for your lathe

-instructional videos

Please visit Trent’s daughter’s web site. She has recently been published with an article in the AAW magazine.

instagram: @kailee_bosch_art

Several other tools used can be found on Amazon and Harbor Freight Tools. 

Amazon :

-Flex Flashlight 

-Pneumatic gun drill

-pneumatic angle grinder for sanding

-Electric carving tool

Harbor Freight: pneumatic body saw, purchase saw blades elsewhere, howeve

Feel free to trace Trent’s wire bent thickness tool and make your own: 

Seen on the left is the flexible flashlight.

Contact information for Trent Bosch is

This article authored and respectfully submitted by Christine Smith.

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Eric Lofstrom Demonstrates for CMW on July 20, 2019

Photo: Kaye Schmidt

July 20, 2019

Eric Lofstrom

Dancing at the Lathe- Fundamental Moves

When was the last time we saw the CMW club members stand up at the start of a demonstration? On July 20, Eric Lofstrom began his demonstration by having all the members in attendance stand, move, and think about fundamental moves at the lathe. He introduced 4 basic moves that we use when we turn at the lathe. He suggests we pay attention to our movements and think about our connection to the ground as we turn.

Eric Lofstrom demonstrating to a skeptical audience
However, once he explained the benefits, we all joined in!

Once we lunged and squatted, we sat back down and watched the four dance moves in action to turn a top.

Turning a Spinning Top

Eric used two skews – see handout on website on skews, while demonstrating his dance moves at the lathe. He trued up a cylinder with the skew, and made a top in one piece – clean cutting with the skew. He also has large models of the two skews to show us how he uses them on the wood.

He next talked about ribbing vs chatter. Then he turned end grain, three skew cuts to make the tip – showed the end grain tear out, illustrating the deformed fibers ahead of the edge.

He pared fibers off with the curved skew. He creates a chatter tool by using a Fat Max handle and replacing the Fat Max blade with a Starrett hacksaw blade.

He grinds it down, adds a slight downward bend to it to create a chatter tool- you don’t want it too sharp or it won’t flex to create the chatter.

High speed – push into the wood – sweep blade across once. Next he applied color – sharpie brand brush tip – not archival permanent – does degrade, blended the colors – fast speed – draw tip down. He prefers Pitt artists pens – archival color – soft, chisel point, he highlighted the ridges.

Turning an Endgrain Bowl- Namaste Series (outline of process included in handout)
Namaste – I see you – the inner light in me recognizes the inner light in you. This series is named as such because his process traps the light inside the bowl – He uses a height to width ratio, shines a light and sees the dip and thinks about how it will look – and can evaluate the form by casting shadows. He puts shellac in the interior, and then uses liquid pearls – high pigment content – pearlescent paint. Blends yellow and blue, white gesso (adds grit, allows other paints to stick to it). He uses a Sea sponge – softened with water, and dabs gesso without blending. He then shapes the outside while the gesso is drying. He then puts blue and yellow on the sponge and ends up with yellow at the base of the inside and blue towards the top and a green blend in the middle. He shellacs it first- straws of wood suck the moisture out of the paint. He prefers de-waxed shellac. He may thin it with some denatured alcohol as not doing this may cause Acrylics to raise the grain.

Eric then demonstrated a vacuum chuck – using your arm and hand to center the piece on the vacuum chuck

Turning a Square-Rim Bowl- Resonance Series Eric talked about how he turns his thoughts and feelings into the woodturning piece – recording his feelings about his interaction with the wood. In this series, there is a casting of the light across the ripples; there is no final ripple on the square – doesn’t stop with him. Poetic, pebble rippling out like the people who have had an effect on him. He showed a couple of variations – one with the backside off center, and another smaller one turned with a chainsaw with the growth rings echoing the rings – a lot of intention in his work. As he turned, he created what he called a spigot (tenon).  The bowl had a gentle curve up – then flipped to match the curve. All the while, practice, reflect, change, practice, reflect, change…

Once again, Eric referred to his dance move 4 as he turned. Ripples- same motion. He emphasized the importance of shining a light obliquely across the surface to see the shadows as he cuts. How crisp is the shadow line  – are the ripples even in size and depth? He then continued turning leaving the planned bowl diameter slightly protruding, to get an idea of what the proportion of the hole will be against the total size of the piece. – this creates a reference point for the ratio of the hole to the entire piece.

Then he puts the ripples in, leaving his reference outie on the piece. He continues to put an emphasis on sharp tools.

He then uses a negative rake scraper to smooth out the inside of the bowl. Shellac is then applied to the inside of the bowl and then painted, but with a brush this time. No primer coat means that there will be a little texture. The gesso took the texture out – this second one does not have the benefit of the gesso, so there is texture visible. Must have a pristine foundation or you will be able to tell once the piece is painted.

Eric offered several extra tips including how to use an extra fine hone- (green), as well as 320 grit cloth backed sand paper over a piece of leather to hone his bowl gouge. He also mentioned that to optimize the use of his chucks he takes them apart, soaks them in mineral spirits and then re-lubricates them with Dynalube. He does this as often as he feels necessary.

The membership greatly enjoyed the information and techniques which he presented in a most enthusiastic manner.

Contact information for Eric Lofstrum is:

If you would like to renew your membership please use the following link:

This article authored and respectfully submitted by Anne Ogg.

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Nick Agar Demonstrates for CMW on June 15, 2019

We were fortunate to have Nick Agar with us for his demonstration and for 2 days of classes.  He describes himself as a “wood shopper” and an “embellisher”.  Nick come to us originally from England, but with his new green card, is settling in Savannah Ga.  There he is in the process of setting up his wood-turning studio and school –   “NICK AGAR’s STUDIOS” with an opening scheduled for December.   He began his demonstration with a fast paced slide show of his work.  His inspiration comes from nature – including the ocean, fossils, stones, and clay – and uses embellishment – both texturing and airbrushing  – to change the visual perception of his pieces. He often uses metals – gears etc – in his large wall pieces and reactive paints to create metal patterns on his smaller bowls/platters.  He prefers air brushing because it gives a light even coating and more control over the paint. 

Nick demonstrated several techniques to embellish with reactive paints, texturing and stencils:

1.  The use of  textured reactive paints and rotary carvers

a.  Using a screw chuck, the bowl was shaped and a tenon formed. 

b.  Nick’s preferred grind on his bowl gouge was a parabolic flute with a gentle curve enabling him to make a cleaner cut at the bottom of the bowl without hitting the shoulder and creating a tool mark.  He also prefers using a leather strop, using a Tormek system for maintaining a sharp tool.

c. He demonstrated several ways to use a rotary cutter. 

1). Using a decorating tool – texturing the sides of the bowl with deeper “gouges”

2). Using an Orbi Cut 20 slicing blade, cutting slits along the rim of a bowl.  The edges were shaped, the sharp edges were then smoothed using first a green then a yellow powered rotary bristle pad.          

3). After texturing – he emphasized the importance of removing any dust from the piece before painting – using either an air compressor blast, or rubbing the surface with shavings. 

 d.  The process for Painting the outside

  1. Prime the piece –  using any method you like and let dry
  2. Dry brush on “Road Rust” – Rustina from Chroma Craft – this has a grit in it to produce texture.
  3. Dab on gun-metal gray over the road rust using a cloth. 

2.  Using Web-FX from Chroma Craft – this product produces a horse-hair effect and was the one we used in class 

  1. Using a screw chuck, the block was shaped and a tenon formed.   Nick likes to leave a small rim ~ 1/8-1/4 in from the tenon – this can mark the bottom of the bowl or can be used as an edge if you want to form feet on the bowl.  This piece will have a wide rim that will be painted – so the back is shaped accordingly. 
  • Sand the back to ~400 grit if you plan to paint the surface.  Sand to ~1200 grit if you plan to use a wood dye on the surface. This will produce a slight variation between end-grain or side grain because of the difference in how the wood dye penetrates the wood. 
  • Remove the screw chuck and mount in the chuck.  Face off the top of the surface and begin to make a small bowl with a wide rim approximately 1/3 the diameter of the bowl.  You can give the rim a slight convex curve to produce a more ”porcelain” look.   Make small “V” cuts ~ ¼ in on the outer and inner sides of the rim.  Sand to ~220-320 grit on the rim area. 
  • Remove the piece from the lathe while still on the chuck.  Cover the chuck with towels to keep paint from getting on it and prime with  Rustoleum Flat protective enamel – we used white – or another sealer.  Let dry ~1/2-1 hr.  You can also air brush color on the rim using several coats of paint – lightly sprayed.
  • Once the primer is dried, lightly spray the Web-FX over the base paint in a sweeping motion.  Before spraying, test the spray characteristics on paper and maintain the same distance from the bowl as you decided what resulted in a  pleasing effect on your test spray.  Several colors can be used.  This paint dries quickly.
  • Put the bowl back on the lathe and round off the edges of the rim to clean paint from the rim edges – the bowl hollow can also be cleaned up or left painted. Sand the edges or the bowl interior if it was cleaned up.
  • The tenon can be removed using Cole jaws and finished.  Nick likes to use Chroma Craft clear acrylic lacquer top coat because it is clearer – less yellow – than other lacquers-  or use lacquer of your choice – this gives the appearance of porcelain.  The unpainted surfaces can be oiled. You could also use WRU 20 – a water reducible urethane that can go through an air brush. 

3  The use of texturing, dyes and metallic paints.  This technique was also tried in class.  This bowl was prepared as before using a screw chuck and shaping the bottom and squaring off the edges. The bowl was turned around and while in the chuck, the face was sheared across and the rim area sanded.  The bowl was hollowed only part way to designate the area of the rim and to provide support for texturing.  The back of the bowl was textured using a Sorby spiral texturing tool.  The Rim of the bowl was texturized using a rounded cutter to make “divots” in the rim.   After texturing, it is important to burnish the wood with shavings or 400-600 grit sand paper to remove small burs on the edges of the textured area. 

Coloring process:

  1. Wood dye was airbrushed on while the lathe was spinning at a low –medium speed to provide a thin smooth coat of pigment.  Acrylics could also be used at this point.                 
  2. Next, a clear dye sealer was applied to prevent the color from coming up into the next layer.  The sealer was also “fogged” on using an air brush. 
  3. A thin layer of Verdigris ( green) – Chroma- Gilt was applied with a stiff brush to get the paint into the textured surface.  It’s better to use 2 layers of paint – allowing ~ 12 hours to dry between coats.
  4. Chroma- Gilt bronze was then applied with fingers  on the surface of the textured areas using a good pair of gloves.
  5. Bronzing solution can then be applied with an air brush. 

4.  Stenciling

Nick has developed a series of stencils that can be used for embellishing your work.  He prefers using an airbrush to give you more control of the color and allows you to apply multiple coats with layers of details.  Surfaces to be colored are prepared as above.  He always begins with the lightest color and goes to the darkest for details.  The stencil set for the maple leaf had various sizes of leaf, stems, and “spots”.  Other sets contained details of a butterfly as well as a set of “bugs” and textures..  The stencils were taped onto the surface with blue tape before air-brushing, smaller detail stencils could be held onto the surface by hand. 

Special thanks to Nick for offering 2 classes  which allowed a total  of 18 students to participate.  Projects included preparing 2 bowls using  Web-FX spray paint as well as the metallic paints.  We found Nick to be a patient teacher who set a pace that enabled everyone to complete each step before going on.  We all took home 2 bowls with only the tenons to remove and lots of ideas for more texturing and embellishing.

                          Nick Agar – June 16, 2019 – Class at TLC

                         Nick Agar – June 17, 2019 – Class at TLC

Nick Agar can be contacted using the following email address:


Thanks very much to Jo Miller for taking the time to author this article and add pertinent photos.

Thanks to Kaye Schmidt for taking and then uploading Instant Gallery photos to the CMW website. Thanks to Bruce and Trish Pratt for assisting with the IG photography set up, photos, and take down.

If you would like to renew your membership so you can utilize our library or participate in TLC classes, please visit –…/basic-membership

Edited and respectfully submitted by Mike Seltzer

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Molly Winton Demonstrates for CMW, May 18, 2019

CMW 5/19 demonstrator, Molly Winton

Molly Winton’s highly collectable, signature vessels make her path to success in woodturning appear effortless, but in her demonstration at the Carolina Mountain Woodturners monthly meeting in May, 2019, she helped the audience understand the combination of practice and artistic skill coupled with her passion for design was not developed overnight. She views her unique style as a way to complete her work, not just embellishment for embellishment’s sake.

Living in the Pacific northwest, Molly started out making miniature vessels. She gravitated toward textural techniques and discovered the joy of burning for texture. This enhanced the piece beyond the visual enjoyment, creating a vessel that begs to be picked up and touched. Rooted in all her work lies design considerations giving the piece flow. She avoids conflict or struggle with the woodturning’s final form. Turning small pieces allows her to focus on the minutiae of form. When viewing photos of her pieces, she likes the image to belie the actual size. The smaller pieces allowed her to practice without wasting a lot of wood; her favorites, maple and cherry, are not native to the Pacific Northwest, thus, smaller pieces create economy when she turns. She can then scale up the form to larger sizes.

Molly emphasized the value of a critique. Others can help identify what may be off about a piece. She quoted Graeme Priddle – be sure your embellishment comes from a passion in your life – you won’t get bored, but will continue to work on it. Her inspiration comes from the Plains Indians images on baskets. She talked about her own evolution in finding a shape that works with her embellishments. Initially she used a formal, classical shape. A critique enabled to her to see how she really needed a more primitive shape to complete the pieces.

In her demonstration, Molly described while turning, occasionally stopping to draw on the white board behind her. She began with talking about how important the exterior form is and how planning the profile can help avoid design issues in the final piece. What kind of rim will it have, she asks. If it’s round, no calculation needed. But many of Molly’s pieces have a fluted rim that can help the piece look as though it’s actually another medium, giving it a fluid feel, almost like it is the opening of a basket rather than stiff wood. With the fluted edge, she needs to leave enough of the rim to carve away. She also showed us a square rimmed vessel which requires a lot more wood to trim away.

She showed where the most vulnerable part of the form is when hollowing and how to avoid this potential weakness.

Here are the steps she took as she turned the vessel, calculated for fluting:

1.     Turn the corner shoulder and true it up

2.     Cut away waste wood

3.     Turn flute of gouge to about 3 o’clock so the tool does not jump back or run back, then gently open up to 1 o’clock – get a greater cutting edge

4.     As waste wood gets taken away, start to form the top portion of the vessel

5.     She uses woods depending on the outcome, cherry is her favorite – with imagery, closed pore woods give better surfaces areas for burning

6.     Cut into end grain, paying close attention to the blunt fibers of the end grain

7.     Cut back lower part of wood (side grain) and then return to the end grain

8.     Then sheer cut using the edge of her tool, taking refined cuts

9.     When adding embellishments, separates into thirds – top third is for the image, bottom two thirds basket weave

10. If you divide a piece in half, the piece ends up looking dumpy – either third on top or base to make it more evenly distributed

11. Pencil mark the top third – can be measured if you like, cut the groove to make the top third – use tip of bowl gouge, specialty tool, or other tool to make the groove

12. Sand only if she is not going to carve or burn

13. Uses a hollowing tool specifically for hollowing small vessels. Flute of gouge must be at 12:00

14. Push – shavings will ride up the flute – then clear frequently – push until it stops

15.  Takes waste out with gouge – flute at 12:00 then rotate against herself – inside cutting edge is at 10-11 o’clock

16. Gently cut back and forth – clear shavings frequently – and widen out the space – pulling toward the outer edge – go as deep as far as she can feel it stop

17. Widen out the initial hole

18. Clean up the rim carefully even out

19. Now angle the gouge a bit – pulling out and clearing shavings. Using tip as a probe – to make sure not cutting out the bottom

20. Switch to bowl gouge because the angle of the spindle gouge can no longer reach

21. Molly used allen wrench modified – leaves the 90 degree of the wrench but shortens the wrench and makes a tool – flattens out the top of the allen wrench – see photo

22. Cut at center or slightly below center

23. Start at the rim and pull toward herself- back and forth as she goes down the wall – and she stops periodically to get the chips out – uses the tool to scrape some of the chips and then blows the shavings out. Rotates the chuck as she blows so she removes all the shavings

24. Following the exterior profile, keeping the shape of the vessel

25. After she clears out the shavings, she uses the tip as a probe to see where she last cut

26. You can use a caliper to check wall thickness

27. Do not go micro-thin because if you are piercing or burning, you need the extra wall thickness

28. The curve is where the most likely place to accidentally blow out, so she recommends leaving a lump (see image) and then take that lump out last

29. Now finish the exterior – She recommends not giving in to adding a pedestal if the piece is close to the chuck – she makes a jam chuck for the piece to finish the bottom – not letting her tool get in the way

30. She checks her curve to be sure there are no flat spots on the vessel

31. Rim size to base size – base slightly smaller than rim – although if the piece is really small, she makes them about the same diameter

32. She angles up her parting tool to get the concave base


Using a reciprocating chisel – Molly demonstrated the different depths/profiles from flat to u-shaped

Different levels and widths for different looks

Molly then continued by creating the fluted top of the vessel.

  1. Divide the circle into three evenly spaced lines to mark where the carving will take place
  2. Carve edges
  3. Switches to a diamond edge to finely touch up the fluted top

She then creates a “brand” to use with her Burnmaster to create the basket weave texture on her turning. (A photo montage of the process is located in the Resources section following this article.)

  1. She commonly uses 20 gauge Nichrome wire (Jacob’ the greater the number, the finer the wire.
  2. 4-5 inch piece of wire, pair of needle nose pliers – the brand needs two legs long enough to insert into the burner pen, but short enough to keep its integrity when pushing into the wood.
  3. drill bits with mandrel 2 sizes ( 5/64, 1/16), cut off the fluting of the drill bit to make the brand, a mandrel helps because is has the flat section to lay the wire against it
  4. use the vise grips to hold the wire against the mandrel so that you can have consistent pressure to make sure the wire is even.
  5. Wrap the wire around the mandrel five times for five coils
  6. Hold the coil with needle nose pliers as you straighten out the two legs of the brand

Once the brand has been created, Molly inserts the legs into the Burnmaster pen and finds the right heat by testing it on a piece of wood. She methodically and skillfully burns the wood.

Molly Winton can be contacted at her email address –

If you would like to renew your membership so you can utilize our library, participate in our popular Arrowmont Retreat or attend TLC classes, please visit –…/basic-membership


Thanks to Ann Ogg for being the author of this article. Thanks to Scot Roberge for taking the Instant Gallery photos as well as photos related to Molly Winton’s ‘live’ demonstration.
Edited and respectfully submitted by Mike Seltzer

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Donna Banfield Demonstrates for CMW on April 13, 2019

Donna Banfield – ” It Satisfied My Soul No. 4. “

CMW was pleased to welcome Donna Banfield as our demonstrator for April 13, 2019. Donna lives in Derry, New Hampshire and has been turning since 2002. She has demonstrated locally, regionally and at the annual AAW/International Symposium.

The primary focus of her presentation was on embellishing, texturing and carving to highlight wood turnings. Key points are as follows:

1. Your turning should have a tenon still attached so that it can be held in a chuck on the lathe. Once your turning is at this stage the lathe will only be used to hold your work while the paint is applied.  Fix your turning in the chuck. Before painting and carving your turned creation it is important to experiment first on a scrap piece of wood trying different colors and carving burrs/bits and techniques.
2. Cover the lathe bed with a cloth or plastic to catch paint drips.
3. Using a fine bristle brush (not a foam paint brush or glue brush) apply a coat of the milk paint or Gesso to your story board or turning.  Consider thinning Black Gesso with a couple of drops of water to a consistency of ‘milk’. Similarly Milk Paint should be thinned to a ‘slow drip’ consistency. White Gesso can also be considered. Coloring the White Gesso with either powdered pigments or trans-tint liquid dyes could be considered as well. Experiment ( trial & error) first. If using a flat story board, apply the paint in even strokes in one direction, and try to keep paint lines to a minimum.  If applying paint to a turning held in a chuck on the lathe, rotate your turning by hand, using the hand-wheel, while spreading the paint on the turning.
4.  Use the hair dryer on a low heat setting to help the paint dry. Note: painted surface is considered dry when no longer “cool” to the touch as coolness indicates ongoing evaporation.
5.  Using abrasives (starting with grits 320, 400 or 600, depending on how many paint lines are visible, lightly knock them down.  Do not sand through the coat of paint. Foam backed sandpaper can be helpful. Wipe off with a clean paper towel or soft cloth.
6.  Apply a second coat of paint as described in No. 3, above. Again let dry until no longer “cool”.
7.  Dry the coat of paint as described in No. 4, above.
8.  Use 800 or 1000 grit abrasive to lightly knock down any paint lines. Can go up to 1500 grit if desired. Do not sand through the second coat of paint.  Wipe off with clean paper towel or soft cloth.
9.  Apply third coat of paint, repeating steps 3-5. Note: If you want to do multi-colors so that when you carve you obtain a multi-color outline around your pattern you must use about 5 to 6 coats of each color. Wipe clean.
10.  Use 4/0 steel wool in a circular pattern to buff and polish the paint. Note: Do not use “big box store” steel wool as it has oils in/on it. Use Liberon or Briwax steel wool from a woodworking store. Wipe off with a clean paper towel or soft rag.
11.  In a well vented space, or go outside, spray light coats of Krylon Matte Lacquer/fixative over the painted surface.  This will protect your paint from marring while you proceed with the next steps.
12. Select the cutters (rotary burs or cutters, reciprocating cutters) to create the pattern you desire on your painted piece.  Use my samples of patterns that to make your choice.
13.  While wearing safety glasses and magnifiers (if desired) carefully use the cutters to remove the paint all the way to the bare wood to show your pattern.
14.  Reverse chuck your turning to clean up the bottom, and/or remove the tenon if desired.  Repeat steps 3-5 to blend the paint.  Sign your work.
15.  Once finished, apply spray finish of your choice 24 hours later.  She uses Satin Lacquer. Best not to use spray lacquer until there is a relatively low humidity day that’s not to warm. Do not use spray lacquer near a fan as there could be an explosion risk! Also spray in a well-ventilated area!

Carving Tips:

1.Stabilize work piece. Donna uses a ‘Bowl Stabilizer’ made by ” Chefware” to help hold the work piece. 2. Use a Kevlar glove for safety. 3. Turn at approximately 18,000 RPM. 4. Consider V-cut or small round chisel/burrs.

Woodburning/Pyrography Tips:

1.Excellent tip for creating lines is a 1/8 inch radius skew. Can sharpen edge with a fine diamond hone and further refine with honing compound on a leather chamois as desired. 2. Use a magnifier that works for you. 3. Practice creating lines with various heat settings. Straight grained closed pore woods such as maple,cherry,poplar and fruit woods seem to work well. 4. Use the pyrography tip like a paint brush. Keep the pen moving continuously for curves. 5. When doing a series of lines keep work to the left of the pen so you can readily see spacing.

Donna’s Saturday live demonstration and subsequent Sunday class instruction were greatly appreciated by those CMW members in attendance.

To contact Donna Banfield please use the following email address:

Her website is :

If you would like to renew your membership so you can utilize our library, participate in our popular Arrowmont Retreat or attend TLC classes, please visit –…/basic-membership

Thanks to Tina Collison for posting her Saturday Demonstration photos to the CMW media website library.

Thanks to Bob Leri , Russ Stanton, and Karl Schultz for providing details pertaining to her class.

This article authored, edited and respectfully submitted by Mike Seltzer.

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Mike Sorge Demonstrates For CMW on March 16, 2019

CMW demonstrator – Mike Sorge – March 17, 2019

Our March demonstrator was Mike Sorge from Virginia.  He began turning 9.5 years ago after attending a spindle turning class followed by a bowl turning class.  He loved turning so much he turned, no pun intended, his sales and marketing business over to his partner (his wife) and began turning full time. He then decided to work on more unusual pieces.  He has focused on “winged” boxes, bowls, plates and platters in which the extended sections of wood remain visible creating a pleasing presentation.  The basic forms he uses are squares, triangles and diamonds – some of which can be stacked into a pagoda shape and some in which he inserts a “captured marble”.

Mike began his demonstration using the diamond shape.  The methods used in this shape – the “manta ray” – provided the basis for working with the other shapes including his “spirit bird”.  A diamond cut in half lengthwise creates two isosceles triangles which Mike turns into his “spirit birds” with captured marbles. 

Several basic techniques/tips were demonstrated and discussed:

  1. The use of wood planks to cut various sized geometric shapes creates a cost savings vs using individual blanks.  Mike has created templates to aid in cutting multiple patterns from a plank and maximize wood usage.

2.  Wood blanks should be well balanced for safest turning of large winged timber.  Carefully check the dimensions of your block before turning.  Mike uses 8/4”-12/4” timber – with no cracks. CA glue can be applied at the wings to prevent trailing edge tear-outs. Mike has used all types of dry wood but does not recommend using green wood for this type of turning – although if you do, rough turn ~ 20% larger than your final shape and let dry completely before final turning.  Mike often cuts away a portion of the wing edges of the blank for use in other projects.  To do this, he marks the center line on the edge of the blank and the maximum size of the round mass of the bowl.   With his band saw, he first cuts to the center line at the edge of the bowl circle (from the flat side of the blank to the center), and then through the edge of the bowl to the first saw line. 

3.  Lathe speed:  Mike uses a lathe speed of around 1800rpm that he finds efficient and also effective for minimizing tear outs.  Mike encourages everyone to use the lathe speed that is most comfortable to them – slowing down movement of the tool for slower lathe speeds.  Full face shields are necessary for safety!

4.  Good lighting is critical for turning winged projects.  Excellent LED lighting should be positioned at tool rest level to best illuminate the “ghost image”.  If your wood and lathe color are similar, a contrasting piece of cardboard attached behind your chuck can provide an improved contrast.  Mike recommends using the Aurora, Quasar or Super Nova Lathe lamp, each have a far reaching 30” nicely adjustable neck.

5.  Bowl gouge: For efficient versatile big air turning, Mike uses an elliptical (parabolic) flute with a long swept back “Irish Grind” with a slight curve along the swept back wings.  This shape allows safe application for creating elegant undulation while reducing the risk of catching.  Keep it sharp!  For exceptionally safe control while turning the extended wings, Mike uses 16”-20” handles snugly between arm and body, using patient Tai Chi type body movement to control cutting motion/direction, the “Woodturners’ Dance”.

6.   Securely Hold Timber:  Mike recommends using the “expansion” chuck method supported by a revolving tail center.  (Drive centers or screw chucks are not nearly as safe and not recommended for turning large winged timber.)  #2 jaws on either a Stronghold or Talon chuck work great.  Upon marking the exact balanced center of your geometric turning blank, use your drill-press with Forstner bit to drill a recessed hole about 3/8 in deep and firmly attach your geometric blank to expanding jaws (A 2.5” diameter Forstner bit is perfect for #2 jaws of Stronghold chuck). Mike uses a thin (1/8”) piece of wood with a small hole over the live center to reduce the depth the pin in the live center penetrates the bottom of the piece (the tenon will become the base of the piece).

Steps for turning the “manta ray” – i.e diamond shape:

  1.  Begin your turning: Attach your turning blanks securely using an expansion chuck – double check that the chuck is tightened securely – Mike suggests tightening the chuck at least twice.  This is the top of the bowl. On the tail stock side (bottom of bowl), mark a circular line where the mass of the bowl begins and a second circular line inside the first about half way to center for your desired tenon size (a tenon about 50% of the diameter of the solid round mass portion of the bowl is recommended).  With excellent lighting well-placed for optimal ghost imaging near tool application and your bowl gauge comfortably held between arm and body, use the “push cut” and take slow, steady, small, light cuts to remove about half the thickness of the extended tips outside the circular mass.  Mike prefers a longer tool rest to assist with keeping hand and arm out of the way of the spinning wings.  Be careful not to shorten the length of the outer wings.  A good hint is to mark the edge of the wing using a mark on the tool rest.  Begin your cut just inside this mark.  Be exceptionally patient with your tool work out at the tips, slow and steady, and only begin to move your tool work a little quicker after getting a good feel for how well your tool is cutting the extended wings.  Stop the lathe often to confirm cutting quality and approach to the shape you’re after. 
  • Create your tenon: Next, turn away material at bottom mass to create a proper tenon.  If using OneWay serrated jaws, turn a perpendicular tenon depth so 3 interior rows of jaw teeth can grab it firmly & securely.  If using dovetail jaws, create accurate tenon angle and safe depth.  Creating the tenon early at this stage helps visualizing for final shaping and contour of the piece.
  • Shaping the top side of the wings:  Keeping the blank firmly attached to original expansion chuck, move the banjo to the left side of timber and adjust the tool rest for close/proper support position.  Also move/adjust lighting for optimal ghost imaging and increased visual at tool application, and manually spin timber to assure clearance.  Carefully apply a light shear cut to true the outer extended tips of the left (top) surface removing barely/only enough material to true the surface.  Mike recommends working from the outside in, slowly approaching your bowl gauge to the spinning tip until barely making contact, then slowly sliding your tool in towards the center to true the top wings (left side of timber) – be extremely careful not to cut away more than only what is necessary to “true” this surface.  Then if desired, add undulating shaping to the left side (top of wings) using the same “outside-in shear cutting method” to cove the wings.  For triangular blanks, Mike prefers to keep the wings straight on the top side,  and with diamond and square shapes he prefers the undulating shape.  *Once you’ve finished trueing and shaping the extended tips on the left side (top side of bowl), you’ll not need to do more work on that left (top) side of the extended tips after reversing and re-chucking the bowl to finish the top/inside.


  • Finish turning the bottom of bowl:  Move banjo back to the tail stock side of the bowl  (bottom of bowl), re-adjust tool rest & lighting, and turn/shape the right side (bottom of the bowl) as follows:  First turn/shape the outer wings to desired thinness while you have stabilizing mass in the bowl and work your way towards center:  A relatively easy and safe tool application to turn the shape you desire is by using a slow “push” cut from right to left to get close to your desired final shape out at the wings, and then use a sliding “shear” cut to refine and smooth out the surface.  To help merge the developing wings to the mass of the bowl, begin turning/shaping the mass of the bowl.  Using a combination of push and shear cuts from both directions, finish shaping/merging the wings with desired contour of the bowl, leaving the tenon in place.  You will completely finish the shape of the wings while the bowl is in the expansion chuck.
  • Turn the top/inside mass:  Reverse the bowl and mount it on the appropriate sized jaws of chuck.  (There should be no need to turn/shape extended wings further.)  If desired at this juncture, use your center saver coring tool to cut out a second bowl.  Next, turn the top/inside of bowl to match the contoured shape already created on the bottom side, and to the desired thickness.
  • Sanding:  While still attached to chuck, Mike power sands top/inside and outside edge.  (Obviously, do not attempt to sand extended tips with lathe spinning.)  There’s a bit more effort and time in the sanding of non-round utilitarian bowls.  Yet, patiently achieving a fine finish is worth the effort.  For optimum sanding of the curved sections of these undulating forms, Mike recommends using wavy (scalloped) sanding discs on wavy soft gray interface pads; this combo adjusts easily to all undulated surfaces for safe and efficient sanding; 2” for small areas/curves and 3” for larger areas/curves.  Also, a short angle sanding drill is much easier to control.  Mike uses the Makita DA3010F, which is powerful, has excellent speed, and is very well-balanced. Mike suggest sanding only the flat edges of the bowl to about 320 grit before softening the sharp  corner edges.  He usually sands to 400 grit, then sprays the piece with water to elevate the grain, letting it dry and then continuing to go to 600 or 800 grit to finish. 
  • Turn Tenon into Base:  Reverse the bowl using a “jam chuck” or “vacuum chuck”, and turn the tenon into the desired base shape.  Mike rounds the edges of the tenon and concaves the interior of the tenon to form the base.  Sand the bottom, sign, and apply desired finish.  Mike uses 100% organic TY oil.

Other Shapes:  Use the same approach


  1. Attach the blank and mark the largest circle on the heart shaped piece (either a curved or a regular point of the heart will work).  Then mark the tenon
  2. Hearts are out of balance, so select rpm to minimize vibration and only increase speed as the wings are thinned out from turning.
  3. Shape the bowl to the tenon.
  4. Move the tool rest and flatten the top of the bowl.  Mike doesn’t feel that undulating the top wings of the heart adds anything – but do what you like.
  5. Reverse the tool rest and shape the wings at the bottom of the bowl to the thickness you like.
  6. Reverse the bowl in the chuck and hollow the bowl. 
  7. Sand being careful of the “crease” at the top of the heart shape.

Kissing Fish:

  1. Begin with a square and pencil in the center of the blank edge and 2 semi-circles at each edge of the square. 
  2. Shape the bottom to the tenon.
  3. Create fish by turning mirrored coves on each side of the square blank, beginning on the tail-stock side from just inside the 4 tips (fins) to the mass of the blank.  Mark the tool rest where the 4 tips of the blank spin around on your tool rest and be sure not to cut off any of the fish tail.
  4. Move the banjo and turn a mirrored cove on the top (left side) to match the bottom. Don’t worry about making the mouth of the fish meet (kiss) – you will power sand that spot to make them kiss.
  5. Power sand and finish. 

Captured Marble: Mike captures artisan glass marbles in the spirit bird shape and also under the lids of many of his winged boxes as a fun surprise. 

  1. Measure the size of your marble. Mike uses artisan glass marbles (Phillip Nolley marbles – $20-25, and various artisan vortex marbles – $200 +).
  2. Shape the spirit birds as described above to the point of hollowing the bowl and sand the surfaces of the piece.  Do not use any oil in the hole.
  3. Turn and sand the depth of hollowed bowl and the diameter of its opening per this example: for a 1.75” diameter marble, turn/sand a hole about 1/8th  deeper than the radius of the marble and the diameter of the opening to be ever so slightly smaller than the diameter of the marble.
  4. Begin by hollowing out the hole so that there is about a 1/8th inch under cut rim, which when sanded becomes closer to 1/16”.  You want the marble to press through and barely under the opening rim so that it moves freely in the hole. 
  5. Use a rubber chucky on your tail stock (or some other non-abrasive cushion) to push the marble into the hole.
  6. To finish the back of the bird, use a jam chuck with a hole bigger than the marble.  Cover the finished wood on the marble side with paper towels and/or mouse pad type of material so as not to mar the surface. 

Finally, Mike likes to encourage wood turners to be regularly curious, imaginative and experimental as part of their woodturning philosophy.

To contact Mike Sorge please use the following email address –

If you would like to renew your membership so you can utilize our library or participate in TLC classes, please visit –…/basic-membership

Thanks very much to Jo Miller for being the author of this article and providing the TLC classroom instruction photos.

Thanks to Tina Collison for her Saturday Demonstration photos.

Edited and respectfully submitted by Mike Seltzer.

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Tucker Garrison Demonstrates for CMW on February 16, 2019

Tucker Garrison Demonstrates for CMW on 02/16/2019

CMW was privileged to have one of its own members, Tucker Garrison, be the Demonstrator for February, 2019. Tucker has been a long standing member and Board member of CMW. He has been instrumental in coordinating many of the educational activities of our organization. One example of his efforts is arranging our annual and very popular Arrowmont retreat.

The focus of Tucker’s demonstration was on how to turn a 4.5 ” spherical form and then the creative options for shaping and carving this form. Key to the completion of this project was the creation of a chuck (jig) that allowed the sphere to be captured and held on the lathe.

It is impossible to share all the information, methods, tricks and data that Tucker imparted. It really helped to have been there in person. It was especially helpful to have participated in his 3 days of subsequent class instruction.

The morning session began with an outline of turning the chuck. The idea of a spherical chuck requires a positive mindset on the part of the audience; one that can not only grasp ( pun intended) the details of the piece and the turning skills required; but, also to be aware that this very complicated piece is a means to an end and not the end itself.

A schematic of the sphere chuck ( jig ) is included here.

Tucker began by turning an 8-10″ long semi-green block of Ambrosia Maple to an O.D. of 6 “. A tenon should then be turned on one end appropriate for the size and shape of your chuck jaws and perfectly flat or with a slight concavity. A tenon depth ( thickness) of 7/16” was recommended for support if your chuck jaws allow this depth. He then applied fiberglass cloth backed by blue masking tape to 3 places on the tenon and base of the chuck, with CA glue, to help prevent cracking from wood shrinkage.

The exterior was turned to its final dimensions, noting the raised area surrounding the aviation ( hose type ) clamp slot which is designed to provide knuckle protection.

The chuck was then hollowed with a combination of tools ranging from hook tools to bowl gouges and round nosed scrapers. Particular attention was given to the outside wall thickness since variations in thickness would allow the chuck to compress unevenly.

The piece was then symmetrically marked around the circumference to show the 12 ” fingers” and waste material was removed with a Foredom tool followed by hand sanding.

Photo below of completed chuck ( jig ) holding sphere.

Next a 4.5″ sphere was turned. Another Maple blank was chucked and turned to a 4.5″ sphere using calculated step points based on circular geometry to facilitate this turning. A schematic was also provided for this step and is illustrated below.

A 4 1/2″ curved semi-circular template was utilized to facilitate accurate creation of the sphere.

Next, Tucker used his own spherical compass design to mark out 12 equally spaced points on the Maple sphere. This was calculated to be close to 2.4 inches. Note a pencil will be inserted in the other hole so that the pencil tip and the nail point are the calculated distance apart.

Next, using a regular compass, circles were drawn on the sphere with with the edges of each circle hopefully just touching the adjacent circles. The diameter of each circle was again very nearly 2.4 inches.

Now is when design opportunities abound. The above ” marked” sphere is placed in the chuck. A convexity, which will be illustrated, or a concavity, or neither, can be turned. Initially a small hole ( 1″) to facilitate hollowing is created using a Forstner bit.

Next a convexity is turned almost to the diameter of each circle and then each convexity is hollowed.

After doing this 12 times one is left with the following:

At this point a decision was made to create a free form asymmetrical sphere. One way to conceptualize how to outline doing this is to draw asymmetric circular shapes around each convexity so that at least one high point ( next to the drilled opening) and one low point ( the valley between the two convexities) is included. This pencil line is then widened to approximate the diameter of the wood to be kept. The remainder will be carved away.

Next, using various drill bits and burrs removal of the unmarked wood is done which results in the appearance similar to the following:

At this point a great deal of additional time and energy is required for final shaping, sanding and finishing. In answer to a question from the audience Tucker indicated that it requires 30 hours or more to complete a piece of this type. More symmetrical convex or concave shapes with no or less wood removal carving could certainly require much less time.

Next is a photo which visually summarizes the steps taken.

Photo that follows is ” Final Result”!

It should be acknowledged that Tucker spent three full days providing class instruction and also provided measuring jigs, templates and even a 1/4″ high speed steel curved hollowing tool for use and to take home by the class participants. His energy and enthusiasm were greatly appreciated by all of the CMW members. Thanks very much.

To contact Tucker Garrison please use the following email address:

If you would like to renew your membership so you can utilize our library or participate in TLC classes, please visit –…/basic-membership

Co-Authors: John Brown & Mike Seltzer

Photos courtesy of Tina Collison and Mike Seltzer

Edited and respectfully submitted by Mike Seltzer.

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Mark Gardner Demonstrates For CMW – January 19, 2019

Mark Gardner Demonstrates for CMW – Jan.19,2019

Today our demonstrator was Mark Gardner from Saluda, NC.  Mark started with a power point presentation showing the evolution of his work. He is well known for a split hollow form technique but he also does production bowls with various kinds of embellishment. Today he showed us how he makes a handled hollow form vase and then discussed his embellishing techniques.

At this point Mark started to make shavings. He likes to turn green wood and today used a blank of quarter sawn red maple. He placed it between centers and since this is spindle type turning used a spindle roughing gouge to turn the blank into a cylinder. He then put a Tenon (slightly dovetailed) on both ends to be used with a chuck.  At this point he started to make the shape of the vessel. He uses an “eyeballed” rule of thirds to shape the vessel like a long egg.  The cut started just below where the handles will be. He did this with a bowl gouge starting with a V -cut on the left side with a bevel supported cut and went to the right against the grain with a scraping cut. He pointed out that he usually orients the top of the vessel to the headstock. He does essentially the same thing at the bottom of the vessel. He likes the egg shape to be slightly bottom heavy.  Once the vessel is fairly well shaped, it is ready to cut.  Before doing this he sketches the remainder of the vessel shape on the top and bottom. He has previously removed a little waste wood but has left enough for the handles and to help control vibration when hollowing. He now parts the vessel at the widest point leaving about an inch of material and finishes parting with a Japanese pull saw. He wants the kerf to be as narrow as possible so the grain lines can be as close as possible to line up.  The reason to cut at the widest point is that this is the easiest place to make a mortise for gluing back together. At this point Mark went to the drawing board and explained the depth of the cut and shaping necessary for the glue back.  The farther away from the widest point the more delicate the cuts because on the curve the mortise becomes quite thin.  I suggest watching the video of this demo to fully appreciate. (Also, during Mark’s Demo he occasionally described his tool technique which is basically only understandable with seeing.)

At this point Mark put the top portion of the vessel into the chuck. The first order of business is to prepare the rim. First he makes the end flat with a clean cut. He showed how he places his hand on the tool rest and supports the tool (spindle gouge) with his thumb to make this cut and avoid kickback (well worth watching).  He now did a very small amount of hollowing and then with a special homemade tool to cut across the end grain he fashioned the female side of the mortise. This needs to be a precise 90- degree angle so that when glued up the seam will be easy to hide and not gap. Since the thickness of the vessel will be 3/8 of an inch the flange for the mortise should be about 1/2 of that.  Now it is time to hollow.  Measure the depth, using the drawing on the top of the vessel and then drill a hole to that depth.  Mark uses a Crescent wrench and hand held drill bit, but this can be done with the drill in the tailstock.  He hollows it with a home- made hollowing tool but any end grain tool will work. You cut from the center out, moving down approximately an inch at a time checking the wall thickness as you go.  He is making it 3/8 inch.  It needs to be uniform to prevent cracking as the piece dries.  At the bottom of the hollowing one guesses at the wall thickness using the establish curve and the center hole.

Now remove the top of the vessel and replace with the bottom in the chuck. Make a female Tenon first in preparation for the glue up.  Start with a narrow parting tool. If you mess up and make the Tenon too small you can try again without losing too much wood. The shoulder of the female mortise needs to be a perfect fit with the male so the glue line will be hard to see and not gap upon final shaping.  Before cutting the vessel it is good to put “witness” marks so it is easy to keep the grain lined up.  If this was not done, do it before gluing to make grain lineup easy.  After the bottom is hollowed, using the same technique as the top, glue the parts together and hold between centers. He puts medium CA glue on the corner of the Tenon.

There was now a break for lunch.  The afternoon session began with Mark finishing shaping the outside.  He first drew a line on the waste wood at the level of the top. He now partially -parted down along that line so as to not lose that level and removed some waste wood.  To make the handles he marked the wood remaining on top and used a 3/8 -inch spindle gauge to make a straight cut in at that level. He then proceeded to shape the top.  Mark uses a profile gauge (about $10 at Lowe’s) to help visually blend the top with the body of the vessel and uses shear scraping as his blending technique. Mark proceeded to shape the spout and then drilled a hole through the top of the spout.  He uses “coat-hanger thickness gauges to be sure the top has the proper thickness and if necessary uses small angles hollowing tools to do any fine tuning.

At the bottom he marks a reference line, turns away the waste wood and shapes the vessel. Then it is time to sand. Use compressed air to blow out free water before sanding. This also helps to keep the wood from discoloring while drying. Sand to 320 0r 400 grit.

Mark waits to do his embellishing until the vessel is dry.  It is frequently dry by the time he gets too it.  He jam- chucks the vessel on a block of wood with a spindle in the hole and a small leather pad and the point removed from the live center in the tailstock. Sometime he leaves a nub on the bottom to help line up the center for when he is ready to embellish.  A technique he likes is to use a steel brush wheel to create fine lines up and down the vessel.  He runs the lathe at about 500 rpm and holds the wheel lightly and perpendicular to the vessel.  He then knocks off the fuzz with 600 or 1200 grit sand paper.

He now completes his final turning on the bottom with a demarcation line between the textured area and the bottom. He then removes the waste wood and creates a small concavity in the bottom.  He will remove the final nub with a hand carving tool.

To continue embellishing he will remount the vessels in the jam check and lay out patterns by creating grids on the vessel. Again he likes to avoid green pieces before starting embellishing as the grain in the carved patterns will “fuzz-up “ a bit as it dries.  He starts with horizontal lines about the width of the handles. He does this by eyeballing all the way down the vessel. He makes them minimally wider at the widest part of the vessel and slightly narrower at the narrower places. Next he creates the vertical lines of the grid.  He does this by eyeballing between the two widest horizontal lines. If he is doing an alternately pattern he aims for 14 divisions.  Once he is satisfied with the verticals he takes a home- made pencil jig aligned with the lathe center and runs the vertical lines the length of the vessel.  He can use the grid straight up and down or right and left or he can draw spirals by using the grid to reference the curved lines.

Once the grid is in place you can embellish in multiple ways. He uses a Dremel  engraver like a pencil. It must be used vertically. It makes impactions in the wood and is best on dry wood.  He finds the pneumatic engraver pen by Sioux more friendly to use but you must use ear protection. He also likes to carve his patterns using a Ryobi, Proxon, Automach, Foredom, or WeCheer system.  He recommends Flexcut blades available at Highland Hardware out of Atlanta.

It is now time to carve the handles.  If it is going to be left Natural then place the handles by deciding how the grain looks best. If it is to be dyed, eyeball the vessel from the top and visualize where the handles will look best. Cut some of the excess wood away with the Japanese saw and then finish with hand chisels. Do the band completely then shape the Handles.  He showed how he shapes the handles with a sharp carving knife and a cut chipping technique.

He dyes his pieces with Fiebing’s leather dye (USMC Black). You must do the whole piece as this dye is very penetrating. His final finish is with Krylon matte finish acrylic lacquer. 2 light coats and buff, then a third coat and buff from matte to high gloss-your choice.

Mark also uses milk paint.  He places the colors he wants and then sands off with 220 or 400 grit sand paper.  The last color on will remain in the low spots.  The final finish is with the Krylon .  To give it more of an antique look use steel wool before the final finish.

Mark finished his demo with a display of a home -made MDF jig used for sharpening  carving chisels.  You need to see the video for this.  At this point the demonstration was adjourned.

Thanks to Ross D. Lynch for writing the above Demonstration Summary.

Thanks to Tina Collison for uploading the photos to the website.

Mark Gardner can be contacted via his email address which is

If you would like to renew your membership so you can utilize our library or participate in TLC classes, please visit –

Edited and respectfully submitted by Mike Seltzer

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Joe Ruminski Demonstrates For CMW – December 15, 2018

It is with great pleasure and honor to create the write-up for Joe Ruminski’s demonstration of 12/15/2018.  The pleasure is due to his great delivery, dedication to educate and valuable information imparted to us all.  The honor is due to him being my first mentor (2010), along with John Roller.  Patience and clarity along with tips and “show how” were all that was needed to addict me into the fun of woodturning.  Thank you, Joe.

It was a full packed class and demonstration subjects.  The more generic lessons learned were:
1.  Sharp tools.  Whenever you are experiencing a problem with your cuts or your sanding seems endless, first go back to the grinder.  Joe sharpens about every 10 minutes during a normal turning session.
2.  Light and slow cuts (with speed up) will minimize tear out and rough cuts.
3.  Turn what you like.  Size does not matter.
4.  Joe finds that an expansion recess, rather then compression tenons, hold better.
5.  To avoid tear out when hollowing a bowl form, round off the back portion of your bowl gouge bevel.
6.  It is a matter of preference…Joe uses a fingernail grind with straight sides, rather then an Irish grind.
7.  Determine where your cut is to end so that you start your cut in an uncomfortable position, ending your cut in a more balanced and comfortable position.
8.  When hollowing a bowl form, first position your gouge with the bevel at 90 degrees to the rim with the flute at “3”.  Once your cut starts, rotate the bevel to, say, “2” and softly and slowly ride the bevel along the inside curve.
9.  To avoid holes where the live center point compresses at the bottom of a piece, use a scrap tester block between your live center point and your piece being turned.
10.  You get a better cut with a push.  Finish off with a very light shear slice.
11.  When hollowing the last 1/3 of the bowl form, do not push your gouge across to center with the front hand.  Allow your bevel to slowly and lightly be pushed with the back hand across the bottom contour.
12.  For a deep (say 6”) and large (say 15” diam.) bowl, use a 75 degree conventional grind with a rounded bevel.
13.  Always bring your tailstock up, when practicable, for safety.
14.  Always cut on the bottom/side, and the tip of your gouge. The top side is used very seldom.
15.  Practice, practice, practice.
Ring Bowl:
Mount a dry block of wood, center to center and round off.
Create a recess for expansion hold with a 2 1/8” forstner bit (this may change depending on the size of your design).
Using a #2 straight jaw, fasten and bring up your tailstock for safety.
Shape to your desired design and finish outside with a shear cut.
Hollow out a recess for the intended rings.  Start your hollowing cut with the front bevel at 90 degrees from the rim and flute at “3”.  Once the cut starts and there is a small recess, rotate flute to approximately “1-2”, hollowing to the depth of your design choice.
Sand to a minimum of 220 or your preferred level of grit.
Create a jam chuck to reverse and clean up the bottom.  You can use a slightly concave and padded jam, bringing up your tailstock to “jam”, cleaning up the bottom.  Take off and chisel and sand off the bottom center.
Finish of your choice.
Off Center Ring Bowl:
Follow instructions above until your outside (less the hollowing) is complete (but assure you are using a rounded piece at least 3” in dia.
Dismount and create a second (offset) recess with your 2 1/8” forstner bit.  This recess will go deeper then your first (centered) recess so it will hold.
Mount the piece using the offset recess you just created.
Create your hollow for the intended rings (remember when offset turning to slow your speed down and make sure you test the clearance of the piece to your tool rest.  Keep your hands behind the tool rest at all times).
Follow the remaining hollow instructions for the first ring bowl, above.
Small Bowl/“Box” (using dried wood):
Center to center and round.
Push cut rounding off bottom facing tailstock.
Create tenon on both ends.
Mount on jaws and shape to your desired design.
Using the Golden Rule (approximately 2/3:1/3”) mark off where you will be separating the base from the top.  Begin parting with the larger (7/32” +-) parting tool but not to separation, stopping at your desired diameter of the inside tenon which will be securing the lid when complete.  Then using your thinner (1/8”) parting tool complete separation but position your narrower parting tool so it leaves a slight tenon on the inside of the top.  This will give you the exact diameter for your inner recess where the top fits to the bottom inside tenon.
Now that the top is parted, hollow out the bottom, but keeping clear of the inner tenon created with the parting tool.  To hollow,  Start as if you were making a traditional bowl using your bowl gouge. Then cut the recess of the top with a square box tool.
Before taking the bottom off the chuck, assure the tenon is parallel to the outside.
Mount the top in your chuck using the tenon you first created.  Using the mark left from your separation process and using a box scraper, cut down the inside of the top to fit the tenon on the inside bottom.  Keep your fit on the looser side because a pop top will warp and you will not be able to separate but a couple of times a year!
Slightly hollow out inside of top to your desire.
Re-chuck bottom.  Place top on same and maintain a slightly loose fit.  Use masking tape to secure both pieces, finish off the outside of the top.  (using your tailstock at the beginning of this process to assure the top will not fly off).  When you finished the top as much as you can without removing the tailstock, then remove tailstock and with your cutting always going towards the headstock and with very light and slow cuts, finish off the outside of the top to your desired design.
Bring tailstock back (removing the tape) and with a small scrap block, protect the top from the pin in your revolving center.  Now use a pointer tool to create accent lines on both sides of the seam where to top meets the bottom.
Take piece out of chuck, create a jam and reverse the bottom to clean it up.  Use your tailstock for most of this process.
Goblet (end grain):
Center to center and round.
Mark off goblet size and stem length (keeping Golden Rule in mind).
Create recess with your forstner bit.
Create the rim of the goblet.
Use spindle gouge (pull cut as described in the above project) to hollow out goblet and then shape outside of goblet.
After working the shape of the bowl portion of the goblet down to the intended beginning of the stem, start shaping stem (always cut at the side near the top, using the side of your gouge).  As you process the thinning of the stem, vibration will occur.  So, try using the live center cone attached to your revolving center and with a gently tightening, begin shaping your stem in stages, thinning until your desired thinness at say 1/2” increments, working your way down to the bottom of the stem where it will be meeting the base.
Your base should be approximately the same widest diameter of your goblet.  Create some design lip or “V” type shapes where the bottom of the stem meets the base.
Miniature Wall Hangings:
(will be using offset recess holding as discussed above)
First create a centered recess with your forstner bit.  This will be used to create the outside form and rim.
Also create two screw chuck holes as offsets.  Using your own design, pick there two points using a compass to establish where your offset embellishments will lie on the finished face of your project.  This requires a bit of trial and error with your compass.  A 3/8” drill bit fits the Oneway screw but please check for the appropriate size drill if your screw chuck is different.
Using your center recess, shape the outside to your desired design.  Use a shear cut back and forth to eliminate any flat spots.  Sand to satisfaction.
Remount on one of the two screw chuck holes.  (remember you are now offset turning and you need to SLOW the lathe speed down initially and also assure tool rest clearance).  You may need to use a shim spacer(s) between the screw and your piece to assure the screw does not go too deep.
Prior to using a point tool, create a series of arcs with a pencil to designate where your groove embellishments will appear on the face.  Cut in the arcs with your point tool making sure the handle is held high to get a good clean cut
You can now remount to the second pre-drilled screw chuck hole and do the same to your desired design.
Sand to completion.
Reverse jam to get rid of all screw holes.
Alternative to above using a “tilt” shim insert:
Following the above, create a center recess with your forstner bit.
Also create a, say, 1/8” disc that will be of the size to fit into your center recess.  However, sand down this disc on one side.
After turning the shape of your piece from the first center recess, insert the disc, mark with a pencil where you want your arc embellishment and then using your point tool cut in the arcs of your choice.
Take piece off jaws, slide the disc to a desired location in the original center recess until the selected angle satisfies your desired design.  Mark off the intended arcs with a pencil and then cut in the arcs with your point tool.
You can experiment with additional resetting of the disc, created different designed cut arcs.
Joe then applies a few coats of black Gesso (sanding to smooth out before second coat).  Spray with catalyzed lacquer, applying a few coats, cutting back after the first or second coat.
Now apply an acrylic color of your choice, working in the color to the cut arc with a Q tip.  Wipe off excess with denatured alcohol.  Apply one last coat of acrylic lacquer.
After the piece has dried, reverse on a padded jam chuck to clean up the bottom.
Use the wood of your choice and/or glue ups of contrasting woods.  Your intended finished piece should start with a 1/4” thickness.
Sand flat the back of the blank to 400 grit.
Create a wood chuck, using double sided tape to fasten your piece to the chuck.
Turn up speed and using a push cut towards the headstock, shape your piece to desired design.
Sand to 400 grit plus.  Apply 2-3 coats of medium CA glue sanding between each coat.  Wet sand smooth and apply a few coats of catalyzed lacquer.

Alan Wasserman

Thanks to Alan Wasserman for writing Demonstration Summary and Joe Ruminski & Tina Collison for providing photos.

Joe Ruminski can be contacted via his email address –

If you would like to renew your membership so you can utilize our library or participate in TLC classes, please visit –

Edited and respectfully submitted by Mike Seltzer






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John Lucas Demonstrates for CMW on October 20, 2018

CMW was privileged to have John Lucas be the demonstrator for October, 2018. He lives in Sparta, Tenn. He has been a member of AAW since 1994. He has previously demonstrated nationally, regionally and locally. He was also featured in the 2017 December 32:6 Journal of American Woodturner Magazine.

The morning session focused on turning and constructing a hand held mirror.

A very detailed outline, including photos, was provided by John Lucas and linked below.

The afternoon session, part 1, focused on turning a gift ornament and an outline was also provided and is attached as a separate file as well.

Part 2 dealt with tips concerning painting and embellishing.

An article related to this is available for separate purchase from or by subscribing to ” More Woodturning Magazine”.

Link to Painted Natural Edge Bowls

Link to Mirror instructions

Link to Turning a Gift Ornament instructions

John Lucas can be contacted at his email address

Author – Mike Seltzer